Drawing as a way of thinking
Eduardo Stagnaro was born in Santiago de Chile in 1937. He was deeply devoted to the arts in all their forms and dimensions, including music, dance, theatre, visual arts, and architecture. This broad artistic sensibility defined both his personal life and professional trajectory. He studied at the School of Applied Arts of the University of Chile, graduating in Interior Decoration,1 a discipline that strengthened his understanding of space, structure, and architectural thinking, concerns that remained central throughout his work.
In the early 1960s, Stagnaro joined the Pantomime Theatre directed by Enrique Noisvander, one of the pioneering pantomime experiences in Chile. When the company Los Mimos de Noisvander was formally established in 1960, Stagnaro became an active member from its earliest productions. His debut in Noche para Saltimbanquis marked the beginning of a long period of work as both performer and scenographer.2 Between 1961 and 1962, the company appeared regularly on the then existing TV Channel 9 of the University of Chile, contributing significantly to the public understanding of pantomime and its expressive foundations.3
Eduardo Stagnaro’s scenographic work developed within a context of structural precariousness that has historically characterized theatrical practice in Chile. In response to limited resources, his aesthetic approach focused on formal synthesis, the expressive use of available materials, and the creation of atmospheric spaces through simple objects and clear gestures. Rather than attempting to overcome precarious conditions, Stagnaro placed his creativity at the service of them, transforming limitation into a creative principle. As he stated in his own words, the unavoidable condition of theatrical work in Chile was that everything had to be done economically: there was no budget, so the work had to be done with whatever was available. It was necessary to synthesize and use materials at hand, such as newspaper and burlap; paint was improvised using colored earth mixed with paste. The design was reduced to a minimum in order to highlight pantomime itself and provide a minimalist visual support.4 This working method coincided with a period in which Los Mimos de Noisvander received sustained attention from critics and the cultural press, who emphasized the clarity of expression and scenic sensitivity of their productions, as well as the use of minimal scenographic elements—features highlighted by Ecran magazine as distinctive aspects of Stagnaro’s work in the Noisvander company.5
A decisive moment in Stagnaro’s life occurred during an extended stay in Europe. In 1967, Los Mimos de Noisvander undertook a European tour thanks to state sponsorship, performing in Europe and Russia. At the end of this tour, which lasted several months, Stagnaro chose to remain in Europe to deepen his artistic experience. In the following period, he settled in Germany, with Hamburg becoming his place of residence and study between 1968 and 1969. There, he pursued artistic studies at the Hochschule für bildende Künste Hamburg (HFBK) and immersed himself in the European cultural environment, gaining exposure to new approaches to visual arts, architecture, and stage design.
Upon his return to Chile 1974, Stagnaro organized and presented an exhibition of his drawings. As Monica Leiva, the artist’s sister-in-law, relates, these were marked by “his peculiar style of drawings, based on a very personal technique and a color palette that identified him. His mastery of crayons or wax pencils was extraordinary; he achieved beautiful, subtle, and personal color palettes. His clearly defined drawings in Chinese ink, graphite pencil, or charcoal made him unique.”6 In 1980, Stagnaro had an exhibition of his drawings at Galeria Bellavista Bellavista (Santiago de Chile) entitled Pinturas de Stagnaro. A contemporary media source noted: “His technique is careful and very clean. The works show a balance between movement and stillness that produces harmony. Textures achieved with colored pencils, wisely combined. Each work is a unique and beautiful, surprising world.” 7
At the same time, Stagnaro resumed his work in theatre, contributing as a scenographer and later returning to the stage at the invitation of actor and director Tomás Vidiella (1937 – 2021). One of Vidiella’s most recognized theatre projects during this period was Cabaret Bijoux (1976), a show about the shows and entertainers of a declining cabaret. The production remained on stage for more than a year and toured throughout northern and southern Chile. After this intense theatrical cycle, Stagnaro gradually withdrew from daily stage work, choosing to focus on visual arts.8
Despite his broad knowledge and mastery of artistic techniques and color, Stagnaro never worked as a formal teacher. Nevertheless, he was frequently consulted for his expertise, particularly in matters related to visual arts, scenography, and architecture. In parallel with his artistic production, Stagnaro played an important role as a guardian of cultural heritage. From his home in central Santiago, he preserved artworks, manuscripts, and unpublished materials. Over time, he donated this material to the National Library of Chile, where it became part of the Memoria Chilena archive. He was also invited to collaborate with the Ministry of Museums and Libraries, contributing to the organization and research of documentation related to Los Mimos de Noisvander. According to Mónica Leiva, drawing remained a daily and constant practice throughout Stagnaro’s life: he always carried a black 0.3 mm ink pen, with which he drew continuously on any surface at hand—receipts, tickets, napkins, theatre programs, or loose papers. This habit obviously reflected his understanding of drawing not only as an artistic discipline, but as a way of thinking, observing, and inhabiting the world.
Eduardo Stagnaro passed away in October 2025 at his home in Santiago, surrounded by books and artworks by prominent Chilean artists and accompanied by his family. His legacy endures through institutional archives, artistic works, and the collective memory of Chilean pantomime theatre and visual arts.
I am extremely grateful to Mónica Leiva, the artist’s sister-in-law, and to Pablo Stagnaro, his nephew, for providing essential information without which this text would not have been possible to complete.
This article was published in February 2026.
